Yasumasa Morimura

Morimura has conceived of his work through simultaneously appropriating and subverting significant art historical masterpieces. Through his deconstruction of the notion of the “masterpiece,” Morimura calls into question assumptions imparted on such works by Western documentation of art history, as well as commenting on Japan’s absorption of Western culture. However, Morimura’s interpretation and representation is particularly effective because while Morimura renegotiates the definition of masterpiece, he genuinely identifies with and respects the artists themselves. By inserting himself into the work, he recreates, relives and indulges in the artistic process. His ability to satirize and simultaneously create an homage is what enables his work to defy categorization.

For feminist analyses of Morimura’s work, please see the following publications:

Yasumasa Morimura. Gary Tatintsian Gallery, Inc., Moscow with Luhring Augustine, New York. 2006. (exhibition catalogue)

Yasumasa Morimura: Los Nuevos Caprichos. Luhring Augustine, New York. 2005. (exhibition catalogue)

Daughter of Art History: Photographs by Yasumasa Morimura. New York: Aperture. 2003.